Carrying Over: Poetry as Translation in Early Romantic Poetics
نام عام مواد
[Thesis]
نام نخستين پديدآور
Adam Nagi Ahmed
نام ساير پديدآوران
Goodman, Kevis
وضعیت نشر و پخش و غیره
نام ناشر، پخش کننده و غيره
University of California, Berkeley
تاریخ نشرو بخش و غیره
2017
مشخصات ظاهری
نام خاص و کميت اثر
94
يادداشت کلی
متن يادداشت
Committee members: Goldsmith, Steven; Kaufman, Robert
یادداشتهای مربوط به نشر، بخش و غیره
متن يادداشت
Place of publication: United States, Ann Arbor; ISBN=978-0-355-57232-2
یادداشتهای مربوط به پایان نامه ها
جزئيات پايان نامه و نوع درجه آن
Ph.D.
نظم درجات
English
کسي که مدرک را اعطا کرده
University of California, Berkeley
امتياز متن
2017
یادداشتهای مربوط به خلاصه یا چکیده
متن يادداشت
Carrying Over reconsiders the widely held Romantic-era belief in poetry as a universal form by arguing for the centrality of linguistic and cultural translation within early Romantic poetics. It traces Romantic encounters with Eastern genres alongside an emerging imperial sense of the world in eighteenth-century British systems of knowledge, including philology, pedagogy, and biblical criticism. Expanding recent postcolonial accounts of world literature's colonial origins, I show how Romantic works responded to a mounting scholarly effort to codify literature within England and its colonial peripheries. While Orientalist philologists like William Jones claimed to demonstrate ''what true poetry ought to be'' through their translations of Oriental works into familiar genres like the lyric and the romance, Romantic adaptations of non-Western forms (such as the Arabian Nights tale and the proverb) suggested what poetry could be once detached from these dominant modes. Indeed, I claim that these engagements with Oriental forms transfer, or ''carry over,'' problems of translation into issues of interpretation-moments of unintelligibility in which the poem appears as an agent of translation rather than its object. In doing so, these poets revise the world-literary assumption that locates poetry in European modes of expression, suggesting instead that poetry's displaced origin precedes and lies outside of national forms.